Scheduled for release on April 15, Santana IV will reunite virtuoso guitar player Carlos Santana with bandmates from his classic 1971 lineup. The recording, which features Gregg Rolie (keyboards, lead vocals), Neal Schon (guitar, vocals), Michael Carabello (percussion) and Michael Shrieve (drums) will be the first time in 41 years that this five-piece has come together. The album also receives contributions from percussionist Karl Perazzo, bassist Benny Rietveld and vocalist Ronald Isley.In lieu of this momentous occasion, Santana has revealed that the band will be playing their first show since 1973 at the House of Blues Las Vegas at the Mandalay Bay on March 21. The show will also be taped for for an upcoming DVD and TV release. Pre-sale tickets for the event go on sale Saturday, March 5 at 10 AM PST, with public on sale beginning March 14 at 9 AM. More ticketing details can be found here.Fans can get a sneak peak of Santana IV here with the new slow-burning single Santana has just released today titled “Blues Magic,” which you can stream below:For a further look inside the making of the new album, check out the new teaser trailer via Guitar World here.
On March 21st, as reported by The Hollywood Reporter, The US Court of Appeals for the Ninth Circuit upheld a former verdict that Robin Thicke and Pharrell Williams’ 2013 pop hit “Blurred Lines” did infringe on Marvin Gaye’s “Got To Give It Up”. This case has been particularly controversial since it first hit the courts in 2015, making it one of the most followed copyright infringement cases in history. The appeals court rule 2-1 in favor of the Gaye Estate, with the one dissenting judge, U.S. Circuit Judge Jacqueline Nguyen, declaring that the decision “strikes a devastating blow to future musicians and composers everywhere”, noting that the Gaye Estate’s win effectively “accomplish[ed] what no one has before: copyright[ing] a musical style.”However, with this appeal, the Ninth Circuit ruled that Thicke and Williams are liable for $5.3 million dollars in damages to the Gaye Estate. More specifically, the two musicians behind “Blurred Lines” are now responsible for covering $3,188,528 in damages, plus portions of the profits—$1,768,192 for Thicke and $357,631 for Williams. Furthermore, the court ruled that the Gaye Estate should receive 50% of future songwriter and publishing revenues earned by “Blurred Lines” and absolved Clifford “TI” Harris and Interscope Records of any part in the infringement.U.S. Circuit Judge Milan D. Smith noted that the panel “decided this case on narrow grounds” in his ruling, though in the end, the court rejected Thicke and Williams’ argument that Gaye’s music should only receive “thin” protection. However, Nguyen’s dissenting opinion was scathing, to say the least. She wrote that “‘Blurred Lines’ and ‘Got to Give It Up’ are not objectively similar. They differ in melody, harmony, and rhythm. Yet by refusing to compare the two works, the majority establishes a dangerous precedent that strikes a devastating blow to future musicians and composers everywhere.” She continued, “The Gayes, no doubt, are pleased by this outcome. They shouldn’t be. They own copyrights in many musical works, each of which (including ‘Got to Give It Up’) now potentially infringes the copyright of any famous song that preceded it.”While Nguyen’s stance on this was strong, Smith addressed these concepts in his own brief. He wrote:[T]he dissent prophesies that our decision will shake the foundations of copyright law, imperil the music industry, and stifle creativity. … It even suggests that the Gayes’ victory will come back to haunt them, as the Gayes’ musical compositions may now be found to infringe any number of famous songs preceding them. Respectfully, these conjectures are unfounded hyperbole. Our decision does not grant license to copyright a musical style or ‘groove.’ Nor does it upset the balance Congress struck between the freedom of artistic expression, on the one hand, and copyright protection of the fruits of that expression, on the other hand. … Far from heralding the end of musical creativity as we know it, our decision, even construed broadly, reads more accurately as a cautionary tale for future trial counsel wishing to maximize their odds of success.Nguyen also questioned the process behind the ruling, calling out what she found to be “the majority’s uncritical deference to music experts.” In the 2015 trial, the trial judge did not allow the jury to actually listen to both songs, instead using each song’s sheet music submitted to the U.S. Copyright Office as the basis for the lawsuit—”Got To Give It Up” was protected by the 1909 Copyright Act, which didn’t cover sound recordings and was the standing copyright law until the mid-1970s. Smith upheld this ruling of only allowing jurors to see the sheet music rather than hear the two songs for comparison, leading Nguyen to add in her dissent,Admittedly, it can be very challenging for judges untrained in music to parse two pieces of sheet music for extrinsic similarity. But however difficult this exercise, we cannot simply defer to the conclusions of experts about the ultimate finding of substantial similarity. While experts are invaluable in identifying and explaining elements that appear in both works, judges must still decide whether, as a matter of law, these elements collectively support a finding of substantial similarity. Here, they don’t, and the verdict should be vacated. You can read the official ruling from Judge Milan D. Smith and Judge Jacqueline Nguyen dissent here.[H/T Hollywood Reporter]
In just seven years—and only three with mainstream success—Nirvana paved the way for the sound of American music in the early 1990’s. Few bands were able to make such profound and impactful statements in the music industry in such a brief amount of time.Following their 1989 album, Bleach, and 1991’s Nevermind, Nirvana released their third and final studio album, In Utero, on September 21, 1993. It was a major step forward for the band, using this new platform of fame to challenge their audience and distort both their public image and their sound.The record wasn’t completed during their studio session with Steve Albini, however, and took R.E.M producer Scott Litt to dedicate some serious amendments to the album’s overall packaging, resolving controversy over the record’s production and mixing. This was difficult for bandleader Kurt Cobain to deal with, as he wanted to keep this record in the nature that sought to define it: raw, in the moment, fluid with his own pace. But the label wouldn’t approve, saying no one would like it.It was after Scott Litt’s adaptations that the quality of the record was finally ready for their label DGC to approve as commercially viable. With his help, “Heart-Shaped Box” made it out to the shelves as the first single, and the entire record eventually debuted at number one on the Billboard 200 chart. Selling over 180,000 copies in the first week alone, stores like Kmart and Wal-Mart still refused to sell the less-than-appropriate work-of-art.While the band’s intent was to relinquish mainstream approval and defy the standards of their label’s interests, they still managed to deliver one of the most important records of the 90s. Kurt Cobain died less a year later on April 5, 1994. In honor of In Utero‘s milestone birthday today, stream the full record below via Spotify:Nirvana – In Utero – Full Album Nirvana – In Utero – TracklistingAll songs written by Kurt Cobain, except where noted.“Serve the Servants” – 3:36“Scentless Apprentice” (Cobain, Dave Grohl, Krist Novoselic) – 3:48“Heart-Shaped Box” – 4:41“Rape Me” – 2:50“Frances Farmer Will Have Her Revenge on Seattle” – 4:09“Dumb” – 2:32“Very Ape” – 1:56“Milk It” – 3:55“Pennyroyal Tea” – 3:37“Radio Friendly Unit Shifter” – 4:51“tourette’s” – 1:35“All Apologies” – 3:51View Tracklisting
Composer and musician Fred Ho is comfortable in his own skin, and sometimes not much else. In photographs, the self-described nudist is often seen covered up only by his regular companion, a strategically placed baritone saxophone.There is a sense of peaceful strength and comfort with life that surrounds Ho, the result, in part, of his recent battle with an often-lethal enemy.In August 2006, Ho, who is also a political activist, author, and playwright, was diagnosed with advanced colon cancer and given almost impossible odds of survival. But after three years, seven surgeries, and chemotherapy and radiation treatments, Ho was declared free of the disease.“I feel much better,” said the 1979 Harvard graduate in the lobby of Harvard’s New College Theatre on Holyoke Street, “considering I was supposed to be dead last year.”On Nov. 13, the outspoken Ho will receive this year’s Harvard Arts Medal, an honor given to a Harvard or Radcliffe graduate or faculty member in recognition of contributing to the arts, and in particular contributing to education or the public good. Past winners include cellist Yo-Yo Ma ’76, film director Mira Nair ’79, author John Updike ’54, and actor Jack Lemmon ’47.Ho has been on campus for several weeks, participating in a residency sponsored by the Office for the Arts’ Learning From Performers program. He has worked closely with student performers on his new piece “Take the Zen Train.” The work, commissioned by the Harvard Jazz Bands and the Office for the Arts, will premiere at Lowell Lecture Hall on Nov. 14.The 20-minute composition in six movements incorporates music for the Jazz Bands with choreography for three student dancers who have backgrounds in hip-hop, ballet, and the Chinese martial art of Wushu. Ho enlisted the help of New York stage director Daniel Jáquez, a product of the American Repertory Theater /Moscow Art Theater School Institute for Advanced Theater Training at Harvard University, to stage the dance element of the piece, which chronicles Ho’s battle with cancer.“It’s my philosophical journey,” Ho said, “a series of epiphanies, what the war against cancer taught me.”Jáquez, who has made frequent visits to Harvard to work with students on the production, said he tried to find dancers during auditions who “had the passion and the understanding of what this struggle was for Fred.”For Ho, battling the disease deepened his understanding of the importance of health, wisdom, and love, and gave him a profound understanding of “how creativity can really make us better.”“We are not the sum of our blood vessels, our DNA, our tissue, and our bones,” said Ho. “What makes the human species and each of us individually unique is our consciousness, our ability to create.”Conformity was never part of Ho’s larger picture. At Harvard in the 1970s, the sociology concentrator challenged what he deemed the “hard core [Max] Weberians” with his thoughts on communism and Karl Marx. He also delved into political and social activism, and founded the Harvard-Radcliffe Asian American Association.The trend extended to his socially charged music, which refused to fit a particular genre. Though often labeled jazz, Ho’s work frequently incorporates elements of traditional African and Asian music, resulting in a complex and multilayered product.Ho’s pieces have been called “fiercely imaginative” and include interactive video opera, as well as musical theater. The composer said he was thrilled to create a work for Harvard using his “revolutionary earth music,” a style that “challenges conventional harmony.”My chords “don’t follow any of the formulas or tropes [of jazz]. For a student group to take on that challenge is remarkable,” he said, adding that the Harvard students share his willingness to “try new things.”Thomas G. Everett, director of the Harvard University Bands, was a bit concerned when he first saw the music created by Ho, who as an undergraduate was a member of the Harvard Jazz Band and wrote compositions for the ensemble. Everett wondered if “Take the Zen Train’s” rapid changes of style, key, tempo, and dynamics, which are “crucial to the success of the piece,” might overwhelm the group.“The students on first playing were a little baffled,’’ Everett said. But at subsequent rehearsals — with Ho in attendance, playing along, and helping guide the students through the work — the players began to blend into the piece.“That is when the magic happened,” said Everett.In the end, Ho hopes he can inspire students and listeners alike with the music and the message in “Take the Zen Train.”“I hope,” he said, “that people come away with a spirit of elation about the impossible.”the world of fred hoFred Ho will receive the Harvard Arts Medal Friday (Nov. 13) at 5 p.m. in the New College Theatre, 12 Holyoke St. Free and open to the public but tickets required; available through the Harvard Box Office (617.496.2222, ofa.fas.harvard.edu/boxoffice), limit two per person.“The World of Fred Ho” is a tribute concert with Ho and the Harvard Jazz Bands Saturday (Nov. 14) at 8 p.m. in Lowell Lecture Hall, 17 Kirkland St. Tickets are $10 general admission; $8 students and senior citizens and are available through the Harvard Box Office.The world of Fred HoFred Ho will receive the Harvard Arts Medal Nov. 13 at 5 p.m. in the New College Theatre, 12 Holyoke St. Free and open to the public but tickets required; available through the Harvard Box Office (617.496.2222) limit two per person.“The World of Fred Ho” is a tribute concert with Ho and the Harvard Jazz Bands Nov. 14 at 8 p.m. in Lowell Lecture Hall, 17 Kirkland St. Tickets are $10 general admission; $8 students and senior citizens and are available through the Harvard Box Office.
Related Cumulative weight gain over the course of early and middle adulthood may increase health risks later in life, according to a new study led by researchers from Harvard T.H. Chan School of Public Health. They found that compared with people who kept their weight stable, people who gained a moderate amount of weight (5 to 22 pounds) before age 55 increased their risk of chronic diseases and premature death, and decreased the likelihood of achieving healthy aging. Higher amounts of weight gain were associated with greater risk of chronic diseases.The study was published online July 18 in JAMA.“Our study is the first of its kind to systematically examine the association of weight gain from early to middle adulthood with major health risks later in life,” said senior author Frank Hu, professor of nutrition and epidemiology and chair of the Department of Nutrition. “The findings indicate that even a modest amount of weight gain may have important health consequences.” Much of life is beyond our control, but dining smartly can help us live healthier, longer To age better, eat better Most people gain weight cumulatively during young and middle adulthood. Because the amount of weight gain per year may be relatively small, it may go unnoticed by individuals and their doctors — but the cumulative weight gain during adulthood may be large.The researchers analyzed health data from 118,140 study participants, including 92,837 women in the Nurses’ Health Study between 1976 and 2012, and 25,303 men in the Health Professionals Follow-Up Study between 1986 and 2012. Participants were asked to recall their weight from early adulthood (age 18 for women, 21 for men) and to report their weight at age 55. Women gained an average of 22 pounds over early to middle adulthood, and men about 19 pounds.Compared to those who kept their weight stable (not gaining or losing more than five pounds), those who gained a moderate amount of weight had an increased risk of major chronic diseases and premature death, and were less likely to score well on a “healthy aging” assessment of physical and cognitive health. In a meta-analysis of study participants from the two cohorts, each 5-kilogram (11-pound) weight gain was associated with a 30 percent increased risk of Type 2 diabetes, 14 percent increased risk of hypertension, 8 percent increased risk of cardiovascular disease, 6 percent increased risk of obesity-related cancer, 5 percent increased risk of dying prematurely (among never-smokers), and 17 percent decreased odds of achieving healthy aging.“These findings may help health professionals counsel patients about the health consequences of weight gain. Prevention of weight gain through healthy diets and lifestyle is of paramount importance,” said Yan Zheng, who worked on the study while a postdoctoral fellow at Harvard Chan School and is now professor of epidemiology at Fudan University, China.Other Harvard Chan co-authors of the study included JoAnn Manson, Changzheng Yuan, Matthew Liang, Francine Grodstein, Meir Stampfer, and Walter Willett.The study’s cohorts were supported by grants from the National Institutes of Health. The study was supported by grants from the National Heart, Lung, and Blood Institute and the National Institute of Diabetes and Digestive and Kidney Diseases. Zheng was supported by a fellowship from the American Diabetes Association.
Is your lawn on the level? On the next “Gardening in Georgia” June 1 and 3,host Walter Reeves will work on leveling the lawn. He’ll show how to do it and explain whyit’s a good idea.Reeves will also visit with University of Georgia entomologist Beverly Sparks and learnhow to identify white grubs, solitary bees and other underground creatures.Finally, he’ll take a look at some evergreen ferns (Christmas and autumn ferns) you canuse in your landscape.Don’t miss “Gardening in Georgia” Thursdays at 7:30 p.m. or Saturdays at 10a.m. on Georgia Public Television. The show is designed especially for Georgia gardeners.”Gardening in Georgia” is produced by the University of Georgia College ofAgricultural and Environmental Sciences and GPTV. Walter Reeves
The path from wild weed to the carefully cultivated vegetables that fill our refrigerators is not always a straightforward tale of domestication. Different cultures have different priorities and growing conditions, and sometimes crops are domesticated more than once.Recently a large team of molecular biologists and computational data experts, led by University of Georgia horticulture Professor Esther van der Knaap, has unraveled part of the twisted history of the tomato.Anthropologists and geneticists have long known that modern tomatoes were cultivated from their blueberry-sized wild ancestors in South and Central America several thousand years ago. But a recent National Science Foundation-funded study found two domestication paths — one that occurred in Central and South America thousands of years ago in Ecuador and one that occurred thousands of years later in Mesoamerica, or modern-day Mexico.The researchers were surprised to find that the commonly accepted wild ancestor, called Solanum pimpinellifolium, may actually not be the wild ancestor of the modern tomato. Instead, S. lycopersicum cerasiforme evolved 76,000 years ago and became domesticated in Ecuador many years later. The second Mesoamerican domestication created the tomato that has spread around the world today.In the most recent published study funded by van der Knaap’s NSF grant — which was published online Tuesday in Molecular Biology and Evolution — the team was able to document tomato’s history by analyzing the genomes of multiple ancestral tomato varieties. What was also surprising is that tomato underwent a dedomestication step as fruit size became smaller while migrating to Mesoamerica. This suggests a reduction in selection pressures or that tomato became a feral, weedy type that was not well tended. Eventually, tomato was domesticated further into the large types we are familiar with today. The complete journal article is available at academic.oup.com/mbe/advance-article/doi/10.1093/molbev/msz297/5679792.The work involved researchers at four universities and was spearheaded by Professor Ana Caicedo and postdoctoral researcher Hamid Razifard from the University of Massachusetts Amherst Department of Biology.The researchers documented 23,797,503 polymorphic sequences and compared them to the standard genome for domesticated tomato. Comparing where the mutations occurred in the genome with the samples’ geographic locations enabled researchers to track the evolutionary history of today’s tomato.By tracing the history of the tomato, scientists are able to gain insight into the evolution of modern crop plants and their intersection with early cultures, learning more about the genetics that may make crops more sustainable and productive in the future.Each time the tomato was grown, early farmers selected for desired traits. However, it is not well-known whether fruit weight and flavor were as important 10,000 years ago as they are today. It is possible that the early farmers left some traits behind in the unselected population. Some ancient farmers may have selected for traits that we might find distasteful today.“For grain crops, like corn and rice, selections for grain size were very important. Larger was better because it meant more calories, but now people don’t eat vegetables for caloric intake but more for the overall nutritional qualities,” van der Knaap said. “For tomato, we think the weight was very important, but who knows what the people before us thought?”So, while we enjoy a juicy slice of tomato on a sandwich, other cultures may have valued more tart fruit for their cuisine or medicinal purposes.One culture’s trash could be another’s treasure, and researchers are currently looking for discarded genetic treasure among the wild populations identified in this study.These traits, which could include improved flavor profile, fruit weight, water efficiency, and disease- and pest-resistance, can be bred back into modern tomato lines to help farmers grow better, healthier tomatoes with fewer inputs.“The tomatoes we studied are genetically very diverse,” van der Knaap said, describing the wild ancestor populations. “There were some useful (traits) that were left behind for fruit weight and possibly for the flavor of the tomato. Why they were left behind, I don’t know. But those are clearly alleles that we could use to produce better modern tomatoes.”Van der Knaap’s lab has spent the past three to four years evaluating individual plants from these wild populations in field tests in Blairsville, Georgia, at the Georgia Mountain Research and Education Center and in Lyons, Georgia, at the Vidalia Onion and Vegetable Research Center. In both locations, researchers have been working to pinpoint parts of the genomes present in these semi-wild plants that may help to create a new generation of improved tomatoes. For more information about van der Knaap’s lab, visit vanderknaaplab.uga.edu/index.html. Watch a video of Professor van der Knaap discussing her work at youtube.com/watch?v=EQJlU6HWTNw.For more information about how van der Knaap’s work contributes to UGA’s commitment to excellence visit https://greatcommitments.uga.edu/story/tomatoes-cracking-the-code/.
39SHARESShareShareSharePrintMailGooglePinterestDiggRedditStumbleuponDeliciousBufferTumblr They’re going to leave you.I know. That’s a hard pill to swallow after all the time and money you’ve spent on marketing, recruitment, job fairs, and pens. (Yes, pens. Have you ever seen how many gazillions of branded pens are floating around at a job fair? It’s insane.)But even after that, your new hires are going to leave you. (Yes, even after the pens.)Most of us get a similar sinking feeling in our stomach when we think too much about that. It gives each of us headaches for any number and combination of reasons, but suffice it to say that turnover — especially so soon after folks start — takes a toll on teams, leaders, and organizations.Often, organizations, managers, and/or executives are tempted to throw their collective hands up when folks leave the organization — especially when it’s within those folks’ first six months — and tell themselves that’s just par for the course.Or — and HR folks, don’t quit reading after this paragraph — managers and execs might mutter something under their breath about HR/recruitment doing a less-than-stellar job getting “the right people” for the organization. And while it’s true that there isn’t a recruiter alive who’s not made a bad hire (I’ve worked in HR and recruitment for years myself before now seeing and working in it as part of the larger “culture” framework), I think it’s almost always far more complicated than that. (Speaking of bad hires, remind me to tell you about the time I was recruiting for a bilingual position and did a great job filling it. Unfortunately, it was with someone who spoke a different second language from the one for which I was supposed to have recruited. Awkward.) continue reading »
SIDNEY, N.Y. (WBNG) — A member of the Sidney Central School District has tested positive for the coronavirus. In a post on their Facebook page on Saturday, the school district says that the staff member who tested positive has not been on campus since Thursday, April 2. They also say that the Department of Health Services is investigating to find anyone who may have been in contact with them. The school district says that they began deep cleaning in each building before this individual started feeling ill. They also say that they will continue to work with the Department of Health Services, as well as thoroughly cleaning each building. For more coronavirus coverage, click here.
Categories: Letters to the Editor, Opinion It’s very sad what the administration in the city of Schenectady is doing to our history. The replica of the Statue of Liberty has been located on lower State Street across from the original YMCA since 1950. Now that the area is to be renovated into a lovely new park, which would give a beautiful place for the Statue of Liberty, this statue may not be located in its original place. They claim it’s too small and offer other ridiculous excuses. But the statue is taller than Lawrence who’s in the Stockade. With a pedestal like the Lawrence statue, the Statue of Liberty would be taller than Lawrence.Now they want to relocate this statue to Steinmetz Park, where in my opinion, it wouldn’t be seen as much as on lower State Street or any other practical historical place. The idea of a veterans’ memorial in Steinmetz Park is very nice, but it doesn’t need the Statue of Liberty to be relocated there. But the people of Schenectady, and especially the Stockade Association, don’t respond to any changes and just go along with whatever the administration pleases to do. Shame on the Stockade Association and the people of the city of Schenectady.Voice your opinions before it’s too late. City Hall keeps promising to preserve our history, like with the Nicholaus Building, and then changing its mind to help a favorite developer. Or decisions are made on a whim of the mayor or other important person. Don’t let this happen to our Statue of Liberty, which should be placed back in its original location — now a beautiful new park — which will have many more users.Jessie MaleckiSchenectadyMore from The Daily Gazette:Foss: Should main downtown branch of the Schenectady County Public Library reopen?Schenectady’s Lucas Rodriguez forging his own path in dance, theater, musicEDITORIAL: Find a way to get family members into nursing homesSchenectady High School senior class leaders look to salvage sense of normalcyMotorcyclist injured in Thursday afternoon Schenectady crash